Her steadfast position indicates a degree of purposefulness and intentional action: she
came to the church to pray, and she remains true to that sentiment. Although Charlotte’s
passion is not immediately apparent within San Marco, it proves itself at their subsequent
visit to Tintoretto’s “Crucifixion,” where her emotional reaction is strongly palpable to
the reader.
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Watching her, the narrator states, “I observed my companion: pale,
motionless, oppressed, she evidently felt with poignant sympathy the commanding force
of the work. Passing me rapidly, she descended into the aisle of the church, dropped into
a chair, and, burying her face in her hands, burst into an agony of sobs.” Although
Charlotte’s response to the church is distinct from the archaic visitors’ interaction with
San Marco, her position within the basilica indicates her desire to attempt a communion,
while her rush of emotion in reaction to the “Crucifixion” suggests a passionate response
to religious imagery akin to the “mighty passion” that drew ancient worshippers to the
basilica.
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Charlotte’s reaction to the churches and paintings that they visit together is
slightly suspect, however, as it could be that the narrator fabricates reality in order
to increase her emotional reaction to the works as the story develops. Charlotte
and Mr. Brooke first meet in front of DaVinci’s “Last Supper,” and although she
is pleased by the image, she does not exhibit any sort of radical emotional
reaction. The narrator then heavily reads into her posture, saying, “Her eyes then
for the first time met my own. They were deep and dark and luminous, -- I
fancied streaming with tears. I watched her. A thrill of delight passed through
my heart as I guessed at her moistened lids.” This line suggests that the narrator
wants Charlotte to express strong emotions in reaction to the artwork, as it would
add to his image of her piety. As such, by the end of the story she is inconsolable
at the sight of Christ in pain, demonstrated by her reaction to Tintoretto’s
“Crucifixion.” It appears that Charlotte takes on the image of Mr. Brooke’s
fantasy as the story develops. For this analysis I use her apparent feelings of
devotion, as I think it’s still significant to note that despite her reaction to the
space (presumably the type of ‘authentic’ experience he desires,) he still
condemns her interaction with the space. (James 5, 33)